I love Western music. Not "Western music" as in "music rooted in European traditions," but rather the "Western" of "Country & Western." Cowboy Music. In many ways, Country and Western is an odd pairing. The two genres seem to be at complete odds. Sure, the performers evince a similar sartorial sensibility, but the subject matter of Western music is about hard-working buckeroos following honor and dogies out under the wide open sky.

Country, which I love too, is quite the opposite. Country celebrates the sedentary life - working and dying in the same small town, farm, or trailer court in which you were born -- and to hell with ethical codes of conduct; get drunk, cheat on your wife, and show up for your crappy job hungover.

Musically speaking, they're only distant cousins - no more closely related thanBluegrass and Jazz, House and Rap,Rock 'n' Roll and the Blues -- but of those examples, only Country & Western get so invariably lumped together as a single genre that people usually omit the "Western" altogether.

Country's - or Hillbilly's - roots are inEnglish, Irish, Scottish, andWelshballads although Africans brought banjos, Germansbrought dulcimers,Italiansbrought mandolins, and Spanish brought guitars into the volatile mix. Hillbilly music was traditionally often played by small string bands that thoroughly blended their influences into something recognizably American.

In Western music, on the other hand, the solo guitar is much more prominent. Cowboys weren't known for traveling with a whole orchestra to be whipped out around the campfire. In Western music, the same ballad traditions of England, Scotland, Wales, and Ireland are still easily discernible but the main influences are Hispanic, coming from Mexicoand Spain.

Sure, there's some musical overlap between Country and Western -- especially in the Southern Plains, which produced artists likeMarty Robbinsand Tex Ritter-- but for the most part, Country and Western existed and developed independently, separated geographically by many miles until some citified marketing genius stupidly shoved them in the same slot.

To some historians, the first published Western song was "Blue Juaniata" in 1844. At the time, anything west of Appalachia was "The West" and "Blue Juanita" was about a young Native woman waiting on the banks ofPennsylvania's Juaniata River for her brave. Over a century later, it was recorded by one of the biggest acts in Western music, The Sons of the Pioneers. By then, manifest destiny had long ago necessitated European-Americans invading and displacing all indigenous people from sea to shining sea.

As various Europeans conquered what's now thought of as the West, Western music became intrinsically bound to that most indelible symbol of the West, the cowboy. The roots of the cowboy are in northern Mexico's vaquero traditions, not surprising when you consider the ankle deep Rio Grande as the imagined division between Americ'as "The West" and Mexico's "El Norte."

Naturally, western bound Anglos and northern bound Mexicans' traditions combined to a large extent. "Vaquero" was Anglicized as "Buckaroo" in the West, but the vaquero tradition itself could be traced to medieval Spain's hacienda system. In Mexico there were several types of vaqueros, perhaps most recognizably the charro of the Michoacán and Jalisco (where Mariachi developed).

Ranchera is another old form of Mexican music (LA has only one Ranchera station, LaRanchera 930). If Western has a sibling, it's its Mexican half-brother, Ranchera, not Country. In Ranchera, a solo guitarist usually sings about love, nature, honor, work… the same subject matter of most Western music.

There are also ballads about heroic and villainous gunfighters, which developed (with pronounced influence of German and Czech immigrants in northern Mexico) into Corridos and Norteños (or Conjuntos) that are much more popular today. "Norteño," meaning, "Northern," merely reflects the different geographic orientation of Mexico, which lies to the south of what we call "The West." And where would cowboys be without their "yeehaws" and "yahoos," which are merely their take on the "grito Mexicano " that features so prominently in Ranchera and Norteños.

Western music's commercial heyday was in the 1930s and '40s, when something like 75% of films made in the US were Westerns. The hard-working cattlemen and gunslingers were both highly romanticized and almost completely whitewashed. Hollywood's version of the West included a few Mexicans, most often as opportunistic-but-not-especially-effective villains, rather than the Cowboys' equal. Not to mention on the Silver Screen there were far fewer Asians andblacks than populated and developed the actual West of the 19th century.

The biggest singing cowboys in film were Gene Autry and Roy Rogers, whose formulaic movies were primarily constructed around performances of Western songs. Popular female Western performers includedBillie Maxwell, The Girls of the Golden West (Millie and Dolly Good), Patsy Montana, and Texas Ruby.

Western music incorporated sophisticated harmonies with The Sons of the Pioneers.

Western Swing, developed and popularized by Bob Wills, absorbed Jazz and (with greats like Harry Choates) Cajun music too.

TV and Radio shows continued to evince Americans' love of the old west through the 1950s. With the decline of Old Time Radioand film Westerns' popularity toward the end of that decade, Western music also faded and today you find very few Western groups out there (such as little-known Sons of San Joaquin andRiders in the Sky), where as commercialized Country had flourished financially (if not creatively). However, scan your FM and you'll likely hear some Norteños or Bandas that keep the Western flame alive more than some Cashville mannequin in a cowboy hat. Ayyyyaaah ha haaaaaa!